Professional Documents
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Theatre 11 THV
Theatre 11 THV
● Unang Tutok ay ang panitikan. Ang pokus ng tutok na ito ay ang plot at karakter, at
ang boses na namamayani ay ang author o ang playwright.
○ Drama as text
○ Dramatic analysis
○ Fictive cosmos: playwright has authority over text
■ Key terms: genre, period or historical frame, masterpieces
● Pangalawang Tutok ay ang from page-to-stage o ang pagsasaentablado; ang mga
methodology ay fieldwork at ethnography, kung saan binubuksan ng dula kung saan ang
pinagmulan nito.
○ Participant observation: researcher becomes a participant in studied event
○ Fieldwork is done to immerse in culture
○ Ethnography: locality of particular topic
● Pangatlong Tutok ay ang nation state progress o ang D ulaan at Lipunan. Nagpalakas
ng hatak ng programang Philippine Studies, Marxism, at Social Sciences. Ang
methodolohiya ng tutok na Ito ay multidisciplinal at interdisciplinal.
● Ika-apat na Tutok ay dalumat at kultura ng dulaan. Konseptwal ang hataw at kumikiling
sa antropolohikal na dalumat (framing).
● Dulaan -
● Palabas -
● Teatro -
● Pagtatangghal -
● Entablado -
● Indios had no theatre of our own, except that represented by the plays and spurs they
copied translated from Spanish culture. - Lope De Vega and Juan Del Encina (What
is Philippine Drama?)
● Mimesis is manifested in the rituals, dances and customs of early Filipino tribes.
● L. De Vega & J. Del Encina carried the Golden Age of Spanish Theatre. This was what
they called legitimate theatre.
● Philippine-ness must have the following defining features: (A. Chua)
1.) Reflect the culture of the Filipino - Material culture, Metaphysical culture
(values), Economic Structure (class, religion, government)
2.) Answer the need of the Filipinos at given time; - Theatres that do more that
just mirror society; more than just entertainment; Theatre that expose the
shortcomings, ills, and basic contradictions in society; Theatre that calls and
exhorts its audience to do something about this conditions; Theatres that
educate, move audience to action.
3.) Work for the welfare of the greater many, specifically, the masses of peasants
and workers - Aim: final liberation of the masses.
● Tadhana at kulturang hindi matatakasan: Martial Law orchestration, ginamit Nina ang
kultura at sining pang manalo sa pangangampanya. (Eg. Si Malakas at Maganda, The
Epic of Ferdinand Marcos & Imelda Marcos, Matsa ng Bagong Lipunan)
● University of the Philippines during that time: sinuportahan nila Nicanor Abelardo, Jose
Corazon De Jesus, atbp. ang orkestrasyon ng batas militar.
● Nicanor G. Tiongson ay ilinaban ang Nationalistic, Scientific, and Mass-oriented
Philippine Theatre, na isinulong ng mga aktibista sa pagpapabagsak ng diktador. Siya
ay naging Bagong artistic director ng CCP nang naipabagsak na ang dictator noon 1986
○ pagbalik sa katutubong kabihasnan ng mga Pilipino (Ateneo)
○ Kasaysayan at Estetika ng Sinakulo at ibang Dulang Panrelihiyon s a Malolos
(1976)
○ Kasaysayan ng Komedya sa Pilipinas 1976-1982
○ PhD mula sa UP
○ kamalayang politika
○ PAKSA (Panulat para sa Kaunlaran ng Sambayanan)
○ Kulturang “makabayan, siyentipiko, at makamasa (panitikang rebolusyunaryo
○ dulaang Babaylan (1973) naging daan para matipon ang aktibista ng teatro
○ Post-Marcos era (1986-1987)
■ Tiongson bilang artistic Director ng CCP
■ pagbuwag ng kultura ng Bagong Lipunan
● “Natutunan na ng mga Pilipinonh manlilikha, manonood, at mambabasa na may
pamantayang katutubo…” - B. Lumbera
● Tiatco: “Positioning Philippine Theater” i n Entablado “theatres and performances in the
Ph” “Situating Philipine-ness”
● Turner, Victor (1979)
○ Criticism against Anthro
○ ethnographies into play scripts/playing of ethnography
○ to perform ethnography, then is to bring data home to us in their fullness,
plenitude of their action-meaning
○ criticism against “drama”
Tuesday, 29 January 2019
Lecture 4 - “Situating Philippine Theatricality in Asia: A Critique on the
Asian-ness/Philippine-ness of Philippine Theatre(s)” by April Pineda Tiatco
● “It’s not about these components that make theatre’s Asian-ness/Philippine-ness, but it’s
just a geographical marker.” (Tiatco, p.139)
Some examples:
1.) Nang Yai in Thailand
ahabharata
2.) Wayang Kulit Gambah & Wayang Kulit Arja in M
3.) Beijing Opera in China
4.) P’ansori in Korea
1.) The Performative Turn is the study of performative events as a method for
the understanding of cultural patterns in general. (Eg. Religion)
2.) A belief that the anthropological category of “culture” should best be
understood as a process, perhaps as a series of performances.
● Liminality is the between and in between. (Eg, Transitioning of Marriage - Couples are
liminal entities)
● Performance Studies as a lens:
Performance Studies
Performances are actions:
1. Behavior is the “object of the study” focus on repertory
2. Contributing artists
3. fieldwork as participant observation: cultures other than that of fieldworker, crtitical distance,
self reflexivity
4. PS is actively involved in social practices and advocacies
“Performance” (Schechner)
- “broad spectrum” or “continuum of human actions ranting frm:
o ritual, play, sport, popular entertainments
o the performing arts (th, dance music) and everyday life performances to
enactment of social, professional, gender, race, class roles, and on to healing
(frm shamanism to surgery) the mediaand the internet
Performance Studies
- sympathetic to avant-garde, marginal, offbeat, minoritarian, subversive, twisted, queer,
people of color, and formerly colonized
- projects within PS often act on or against strictly ordered or settled hierarchies of ideas, orgs
or people
Feb 19 2019
Trends central to V. Turner’s interest (the performative turn)
1. performative events as a method for understanding of cultural patterns in general
2. belief that anthropological category of “culture” should best be understood as process,
perhaps as series of performances
PS as a lens
- from theatre to performance
- from theatre to dance rituals/ritual dances like subli, etc.
- from theatre to oral performance like balagtasan
- from theatre to cultural performance
Beware of generalizations
- performances can be generalized at theoretical level of restoration behavior (habit/habitus).
however, as embodied practice and every performance is specific and different frm each
other
- differences enact conventions and traditions of a genre, personal choices made by
performers, various cultural patterns, historical circumstances, and particularities
Ritual, play, performance
- performance may be ritualized behavior conditioned/permeated by play
- ritual and play both lead ppl into “second reality” separate from ordinary life
Ritual:
- way people remember
- memories in action, encoded actions
- help people (and animals) deal w difficult transitions, ambivalent relationships, hierarchies,
and desires that trouble, exceed, or violate norms of daily life
- “rites of passage,” rituals that transform people permanently (initiations, weddings, funerals)
Play
- gives people a chance to temporarily experience tabu, excessive, risky
- transformations a re temporary, bounded by rules of the game
Sacred Rituals
- associated w expressing or enacting religious beliefs
- assumed that religious beliefs involve communicating w, praying, or otherwise appealing to
supernatural forces
secular Rituals
- associated w state ceremonies, everyday life, sports, and any other activity not spec.
religious in character
- life roles
- each profession
Structures, functions, processes, and experiences
- rituals and ritualizing can be understood frm at least four perspectives:
o structures: what rituals look and sound like, how they use space, who performs
them, and how they are performed
o functions – what rituals accomplish for groups
o processes – underlying dynamic driving rituals, how rituals enact and bring abt
change
o experiences – what it’s like to be in a ritual
from Reporting:
SENAKULO
LOOB NG SIMBAHAN
● pahintulot
● perpormatibo ngunit hindi teatrikal
● text based
○ missale romanum (liturgy of the word)
○ brevariu, romanus (book of prayers)
○ lumang tipan (genesis -prophetic books)
LABAS NG SIMBAHAN
● inisyatibo
● agsasadula ng mga orihinal
○ Pasyong Genesis
○ Casaysayan ng Pasiong Mahal na Jesucristong Panginoon natin na sukat
ipag-alab ang puso nang sino mang babasa
○ mula sa pagkalalang ni hesus
● Pasyong Kandaba
HISTORY OF SENAKULO
● 17th century - the passion of Jesus was first staged
● 20th century -
● di purket nagkaroon ng bagong techniques ay nagbago na ang content
● Traditional
○ takes too much time → eliminated
○ painted backdrop
● Modern
○ lines: declaimed in prose
○ topical issues have been inserted → for relevance
■ ex. panahon ni Marcos
front curtain
more on physical changes ang nangyari , pero hindi nagbago ang essence ng tradiitional
senakulo
SINAKULO SA TIKAY
(kasaysayan at kumbensiyon)
● PAGKABUO NG SINAKULONG TIKAY ( samahán mismo)
○ mga dayuhang sinakulista sa MAlolos
○ 3 salik (stabilized the culture of Sinakulo sa TIkay)
■ direktor --different directors have their own interpretations → a
certain director (papelitos - pieces of the script of sinakulo)
■ Personahe
■ taunang pagtatanghal
○ SAMAHAN NG MGA SINAKULISTA SA TIKAY
■ modernisasyon (of physical elements) → kailangan ng maraming
katulong
■ Layunin:
● makalikom ng pondo
● pagkakasia -- iisa ang relihiyon ng tikay dahil sa sinakulo;
unify the community in religious sense
● solicitation
● ELEMENTS:
○ ENTABLADO
■ bago ang linggo ng palaspa
■ bukas sa lahat ng direksyon
○ TELON AT MGA GAMIT SA ENTABLADO
■ telong katsa - tagpo (backdrop) (painted) ng mga eksena
■ mga gamit (set props): physical elements
○ TUNOG AT MUSIKA
■ sound system (mic, amplifier)
■ arkiladong banda
○ ARTIPIYALES
■ ilusyon o special effects (kidlat, kulog)
■ artipisyales ng paggalaw
○ DIREKTRO AT MGA KATULONG
■ taga-ayos
■ mula casting (major event: panliligaw -- surveying ng kung sinong
bagay na Santa Maria and liligawan), pag-eensayo, pagbabago ng
linya
■ punong - abala
■ walang bayad
○ PERSONAHE
■ mga tauhan
■ panliligaw
■ learn: pag-arte, pagpunto, paggalaw sa entablado
■ pinakamalaking factor para ma-cast: availability for practice
○ KASUOTAN GAMIT AT MEYKAP
■ layunin: mailarawan ang pagkakaiba ng mga karakter → hindi
mahalata ang nag-uulit na personahe
○ MANONOOD
■ dumadagsa miyerkules santo at linggo ng pagkabuhay
■ kakaunti ang manonood sa unang tatlong araw ng Kuwaresma
■ eksenang nakakapagpatahimik:
● Pasyon
● eksenang katatawanan
● eksenang may artipisyales
● PURSUIT OF PHILIPPINE THEATRE: how is SINAKULO appropriated?
○ remember: standards given by Tiongson
■ Reflect the culture of the Filipinos
● minahal na rin naman natin ang Kristiyanismo
● reflects religious culture of Tikay people
■ answers needs
● sa mga personahe → sense of fulfillment, belongingness
● political issues
■ work for welfare
MORIONES FESTIVAL
- moriones -- helments
- Longinus -- soldier na nagtusok sa tagiliran ni jesus, first na naging christian
Actors of moriones
● traditionally drawn from the poor barrios located outside town proper
● panata to purge their sins
● morions become renewed individuals at the end of the whole week of the panata
● being an actor is a SECRET
● used to hid his mask behind the toilet
● today : it is common to see morions off duty “ -- hindi na tinatago ang pagiging morion
costume
- capes and breastplates
- ibat ibang kulay -- expresses diversity
- mask ni Longinus -- one eye is closed shut as if blinking ----- initial blindness
Panata -- religious vow, devotee promises to do a sacrifice for his fatih until Good friday
- modified to suit specific communal needs of ordinary Filipinos -- indigenizing Catholicism
- sacrifice in hopes of being rewarded by divine response
panata
as an act of utang na loob sa Diyos
wishing to grant something
Felipe Jocano:
“damay” - filipino cultural concept na pwedeng mag-explain bat ganto ang pag-iisip ng locals
modern senakulo
mga politically motivated -- politicians using this performance for their benefit
senakulo with activism
Palm SUnday
(Linggo ng Palaspas, Domingo de Ramos, “Branches SUnday”)
● worshippers bear palaspas
● some places hold a procession into church
● reading of pasyon
● 3-night of Sinakulo
○ the pasyon → form to voice out their feeling against friars
○ written by Gaspar Aquino de Belen
■ laging nag-oopen sa the Last Supper
■ yung iba (extended version) -- the Creation -- Pasyon Genesis (opens
with adam and Eve’s story)
videos:
- significance of Senakulo accdg to priest
- palaspas hosanna angels
- via dolorosa: sa jerusalem
- kuaresma: pasyon at senakulo
- kinakanta,
Holy Wednesday
● evening, provinces of Pampanga, BUlacan, Rizal, Laguna and Ilocandia
● usually dito nagsisimula ang senakulo pero in some places sa Palm SUnday
Maundy THursday
● priests’ renewal of vows
● oil of catechumens
● one of the most important traditions : Visita Iglesia - 7 churches
Good Friday
● Siete Palabras
● dramatized events of Good Friday -- essential to Easter Story
● silent na pagpatak ng 3pm sa community -- Filipinos extend their sense of “damay” to
now crucified Christ
● audience can also participate in beating
● hindi talaga pinapako si Christ dito pero merong fresh wounds
● Santo entierro
○ they burn balat ng lanzones